Beginning life in 1976 as 'Rainbow', they dropped the name after Ritchie Blackmore left Deep Purple and called his new band Rainbow. Pallas began hitting the club circuit at the beginning of a grassroots revival of full-blown progressive rock; which, at the time, was extremely unfashionable due to the overwhelming influence of pop and new wave. They eventually secured a successful headlining run at London's Marquee Club (a hotbed for the neo-progressive revival). A highlight of their set at that time and also a highlight of the early Marquee shows (until the Marquee threatened to ban the band if they did not stop playing it) was a track called "The Ripper". A fifteen-minute epic about child abuse, insanity, rape and murder, the climax of "The Ripper" featured lead singer Euan Lowson dressed half as an old man, half as a woman, acting out a chilling rape on stage (the Yorkshire Ripper case was still, at the time, a fresh news item).[citation needed]

After releasing a self-produced LP entitled Arrive Alive (recorded in Scotland in 1981), Pallas was courted by EMI Records (who had just signed contemporaries Marillion) and went into the recording studio with Yes/Emerson, Lake & PalmerengineerEddy Offord to record the album that would become The Sentinel. The plan was that The Sentinel would be a recorded version of The Atlantis Suite, an epic centrepiece of the band's live performances at the time based around a futuristic version of the story of Atlantis, with plenty of references to the Cold War.

All this boded well for Pallas, but EMI's initial interest in the band waned, as did Offord's enthusiasm for producing the album properly. In order to increase the commercial potential of the group's major label debut the running order was changed, adding more commercial songs and removing much of the Atlantis Suite material. As a result of all these factors, when The Sentinel was released in 1984 it was regarded as a compromised affair by all involved (despite sporting what was regarded as one of the genre's most beautiful covers ever[citation needed], illustrated by Patrick Woodroffe).[1] The excised Atlantis Suite tracks were issued as B-sides on singles at the time of the album's release, and in 2004 a remastered version of the album was released with the Atlantis Suite finally intact and as the band intended it.

Some elaborately staged shows in the UK (using The Sentinel concept as the theme, and featuring props by the special effects team from Doctor Who) failed to generate the needed interest, and by the time the band was ready to record their second album for EMI, Lowson decided to leave the band (and the music industry). In the wake of Lowson's departure the band recorded the KnightmovesEP with new singer Alan Reed, former vocalist and frontman with Abel Ganz[2] (cf. Abel Gance). The centre-piece of the EP was the epic Sanctuary, and early editions of the EP also included a bonus 7" featuring two tracks recorded as demos. The band went on to record a second EMI album, The Wedge.

The band fell into a semi-dormant state for a number of years, but CD reissues of the back catalogue, with extra tracks and re-engineered versions of The Sentinel, kept interest alive. Pallas persevered on and off for several years, and in 1999 released a comeback album, Beat the Drum. This featured a harder sound, returning to the band's classic rock roots but still retained a progressive sound with glimpses of the epic on tracks such as album closer, "Fragments of The Sun". This was enough to revive interest in the band, and saw the internet become an important component in their career. By now the band was a spare time activity for its members, but still they managed regular studio output and occasional short tours of Europe and North America. The Cross & the Crucible, a loose concept album exploring the historical tension between religion and science was released in 2001. The Dreams of Men was released in 2005, supplemented by Paul Anderson on violin, and the classical singer, Pandy Arthur.

In common with a number of others from the 1980s neo-prog scene, notably IQ, the band continued to pursue their musical interests. In spite of being largely ignored by major record labels and the mainstream music press, with the support of the Germanindependent record label InsideOut, the band continue to record and play regular live dates, particularly in Northern Europe. Recent years have also seen a number of supplementary releases, such as two from the Radio Clyde River Sessions series, a double live collection, several official bootleg recordings and Mythopoeia, an archive CD-ROM of audio and video material from the band's history.

With effect from 28 January 2010, lead singer Alan Reed left the band he had fronted for the past 26 years. He has been replaced by Paul Mackie.

On 27 July 2010, the band announced to have signed a new record deal for three albums with Music Theories/Mascot Records. The new album, XXV, was released 27 January 2011. The band confirmed that the album will be the successor to their 1984 release The Sentinel, thematically.[citation needed]

On 24 July 2011, Pallas opened the Prog Stage at the High Voltage Festival in London.[3] Their half-an-hour set largely contained material from 'XXV', plus the song 'Eyes in the Night (Arrive Alive)'. Concert Live recorded the performance.[4]

On 30 November 2013, Pallas played a full gig in Glasgow.[5] The set contained not only known songs from the past albums, but also featured two new ones from the album Wearewhoweare scheduled for release in 2014. At the end of the set, former frontman Euan Lowson temporarily appeared on stage for two songs (Lowson had also participated in a single song of opening act Comedy of Errors).

In June 2018, Graeme Murray, posting from the band's Facebook account, stated: "I think there has been a long enough silence on the PALLAS front. The band i suppose is not DEAD, as we are all still alive, just not necessarily on the same continent, or wavelength. BUT not totally dead. Lets just say "in a state of suspended animation". the patient may come back to life!!!".[7]

Knightmoves to Wedge (1992) - re-release of The Wedge with tracks from Knightmoves 12" single interspersed; this was later withdrawn in favour of a remastered edition of The Wedge with the Knightmoves tracks added at the end.

Arrive Alive (1981) - initially a cassette-only release, then re-released on vinyl in 1983 with a different cover and slightly different track list; again re-released in 1998 on CD with tracks of the Paris Is Burning single added

Pallas did a live-in-studio recording for the Friday Rock Show on 9 March 1984. The tracks they recorded were Cut and Run, Shock Treatment and a Rise and Fall/Heart Attack medley. The tracks were broadcast on 30 March 1984. The tracks are commercially available on a download version of The Sentinel distributed through Amazon in certain territories i.e. the UK.

§ indicates a non-album studio track at the time of the initial release. At present (2011), only the two Alan Reed demo tracks and the extended remix of Throwing Stones at the Wind remain exclusive to the initial vinyl release.

initial copies contain bonus 7" single with the Alan Reed Demo tracks Mad Machine§ and A Stitch in Time§, which are band compositions used as auditioning tracks when Alan Reed came up for the vocalist job.

Monster (radio edit) (2010) - download only single from the band's homepage; full version on the album XXV.

Atlantean (2011) - download only single from the band's homepage; non-album track. This instrumental track is used as the intro on the 2011 tour, meant as a prelude to the opening track of XXV, Falling Down.

Black Moon (December, 2011) - download only single from the band's homepage as a Christmas gift to the fans. This track was recorded in March 2010 shortly after Paul Mackie joined the band. The song was originally written by Emerson, Lake & Palmer for their 1994 comeback album of the same name. Pallas was asked to contribute to a planned ELP tribute compilation in spring of 2010 but the project folded prior to realization due to business issues. So the band shelved the track without initial intention of release.

Monster (Big Band Version) (6 January 2012) - download only single from the band's homepage. This was the result of a little experimental excursion on several tracks from the XXV album that took place in the fall of 2011.

XXV Mega-mix (15 February 2012) - bonus track on the Live At Lorelei CD and also available as a free download from the band's homepage. Orchestral re-arrangement of the album track laid out as a medley of Alien Messiah, XXV Part I and XXV Part II with 11+ mins. of playing time. Several British prog / rock magazines featured the track on their magazine's freebie CD.

PALLAS EP a.k.a. Sue-I-Cide EP (1978) - debut recording privately released in February 1978 on the mini label Sue-I-Cide from Aberdeen. Manufactured in a quantity of 1,000 items of which around 700 were sold at gigs. The tracks comprised Reds under the Beds, Wilmot (Dove House), Thought Police and C.U.U.K. which are all exclusive to this release. Comes in a plain white paper sleeve with a name/logo stamp in one corner.

Unlike the later releases this debut effort features a totally different musical style. Whereas Pallas has been compared with their contemporary competitors Marillion regularly, this EP is more in the verve of early material by The Police.

Complimentary Tape 25/04/98 (1998) - given out to fans who wanted to attend Pallas' gig on 25/04/1998 at the Day of Dreams festival at the Hedon club in Zwolle that was cancelled on short notice as a compensation for the inconvenience caused. The blank tape contains demo versions of Beat The Drum and Blood And Roses from the then-to-be-released album Beat The Drum plus an alternate take of Refugee from the never released Voices In The Dark album. Due to the circumstances of its existence this tape is - apart from the 1978 Sui-I-Cide EP - the most scarce item in Pallas' discography. The tape was re-issued in 2003 with a different J-card design and called PALLAS Sampler Tape. The three tracks saw a broader release through the Mythopoeia compilation in 2000.